“黑”鏈和“白”鏈發(fā)展探究Development of black and white strands

“黑”鏈和“白”鏈發(fā)展探究Development of black and white strands
導(dǎo)讀：這篇essay將就20世紀(jì)50年代、60年代和70年代的“黑”和“白”股風(fēng)在美國流行音樂的發(fā)展和互動進(jìn)行追溯與討論，本essay由英國dissertation網(wǎng)、代寫Essay頻道整理推薦。

Chapter 1 Introduction
Research question
In the 21st century, 'black' and 'white' strands of music interact with each other. There are a plethora of examples of cross-genre styles from Run DMC's Rock House which combined hip hop and rock music in the eighties to the global phenomenon of World Music that combines several genres of music with the indigenous music of countries from around the world. Hip hop, R&B, metal, rock and dance music can no longer be defined by the skin color of an artist. At what point in the history of popular music in the U.S. did the racial barriers break down and how did these two strands of music interact with each other during the period 1950 - 1970s?

Chapter 2 Historical background
In 1892, popular music became big business as music publishers started renting offices in New York City next to the vaudeville theaters which would later be renamed 'Tin Pan Alley'. By the early part of the 20th century, the musical (some claim invented by Jerome Kern), folk music of the Appalachian Mountains and 'hillbilly' music created a white popular music strand. By 1927, the first star of country music, Jimmie Rodgers, invented the white equivalent of the blues and Nashville's first radio station was broadcasting a program that would be a household name in America, Grand Ole Opry.

Black music also was making a name for itself. The first jazz record was cut in New York in 1917, Mamie Smith's Crazy Blues was the first blues to become a nation-wide hit and Bessie Smith would follow suit with her first blues record in 1923. Jazz developed further with New Orleans leaving the Crescent City for work up north in Chicago and New York City. This developed into Big Bands with both the black and white populations.

Two instruments were introduced that would have a profound effect on popular music, especially with Rock N Roll and Soul music. Adolph Rickenbacker invented the electric guitar in 1931 and Laurens Hammond invented the Hammond organ in 1933. In addition, the jukebox entered the scene in 1939. On the vocal front, crooners like Bing Crosby dominated the airwaves in the 1940s and the 'barbershop quartets' evolved into doo-wop.

1948 and 1949 were a stellar years for both the 'black' and 'white' music industry. Ed Sullivan started his variety show on national television (1948). The show would be stepping off point for both black and white musicians. Todd Storz of radio station KOWH in Nebraska created a radio program dedicated to the Top 40 songs in the country (1948) and two technical events took place that would change the way music was distributed and consumed: Columbia Records introduced the 12inch 33? rpm LP, and RCA Victor introduced the 45rpm vinyl record (1949).#p#分頁標(biāo)題#e#

By the early 1950s, the record industry was aware of a new music being created by blacks. New Orleans performer, Fats Domino created a new kind of boogie and Leo Mintz whose store Record Rendezvous in Cleveland, Ohio began playing rhythm & blues records in his store. To break the taboo of white people listening to black music, he called it "rock 'n' roll', borrowing the term from old blues lyrics. He convinced a young, white DJ, Alan Freed, to play a rock 'n' roll record as a novelty song on his program in 1949. In 1951, Freed created The Moondog Show and Rock 'N Roll was born.

Chapter 3 1950s
The United States in the 1950s was in an economic upswing. Manufacturing and home construction was on the rise and Americans were buying goods not available during WWII. The start of the Cold War begins between the U.S and Russia. The Korean War starts in 1950 and Americans were faced with the threat of the atomic bomb. There was a strong element of conservatism and anticommunism. Culturally, the teenager dictated fashion, music and entertainment. Cars were seen as an indication of prosperity and coolness. In 1952, a show called Bob Horn's Bandstand went on the air. It was hosted first my Horn until 1956 when a clean-cut 26 year old named Dick Clark took over. The show was renamed American Bandstand and it continued highlighting the music of the day until 1989.

Black Strand: Rhythm & Blues, Doo-Wop & Soul（英國dissertation網(wǎng)http://elviscollections.com/）
The term Rhythm & Blues (R&B) was a name given to popular music created by blacks in America. The term was originally used by record companies in reference to music marked to urban black Americans. The style was a mixture of blues and gospel and one of its principle artists was Little Richard. His hits Tutti Frutti and Long Tall Sally would influence other black artists such as James Brown and Otis Redding. Fats Domino, who had made a name for himself in the late 40s made the top 10 R&B charts with Ain't That a Shame and Ray Charles came into prominence in 1955 with I Got a Woman, a controversial song because of his mixing of blues and spirituals.

Doo-Wop, a vocal-based style of R&B achieved mainstream popularity in the major cities of New York, Philadelphia, Chicago, Baltimore and Pittsburg. It evolved from the gospel music of the churches and it had themes of love and relationships. By 1956, doo-wop was a national phenomenon and the music began to cross over into white audiences.

Soul music was a form of R&B that arose out of the black experience in America. It transformed from gospel and R&B into a form that had a funkier sound growing in prominence in the late 1950s and early-1960s. It grew out of the inner cities of the north, particularly Chicago, and other cities like New York, Detroit, Philadelphia and Memphis developed their own styles of soul. The main difference between R&B and Soul was the infusion of call and response into the sound of R&B and the black experience that was unavailable to white artists. Geographical difference also distinguished the various soul styles in reference to lyrics and musicality. Chicago's sweet soul sound heavily influenced the northern soul music and the British mod scene in the 1960s.#p#分頁標(biāo)題#e#

White Strand: Rock N Roll
White people had the money, but black people were making the most exciting music. The record industry knew about the music being created by the blacks and capitalized on it with Bill Haley. Formed in 1952, Bill Haley and His Comets became the first rock 'n' roll band. His song Rock Around the Clock entered the Billboard charts in 1954 and American teenagers began to get a taste of the new music. Labeled a novelty hit by some critics, the song turned rock 'n' roll into a national phenomenon. The next year, 1955, teenagers adopted a new role model in the form of the rebellious loner and juvenile delinquent by way of the films Rebel Without A Cause and Blackboard Jungle. Rock 'n' roll was closely related to R&B more so than country music but its style was closely rooted in country. One man brought this sound and style to a fanatical forefront, Elvis Presley. Presley created a sound that allowed white kids to listen to black music. He paved the way for other white rockers such as Carl Perkins, Jerry Lee Lewis and Roy Orbison.

Rock 'n' Roll revolutionized music in several ways. It originated from small, independent labels rather than corporations; it made fun of the establishment and often ridiculed the sounds and lifestyles of the times. It invented the notion of rebellious youth and it bridged the gap between the white public and black public.

Interaction
Chapter 4 1960s
California Sun and the Summer of Love
Motown, Philly and Memphis
Interaction
Chapter 5 1970s
The Ink is Black, The Page Is White
Melding of Genres
Chapter 6 Conclusion
Sources
Altschuler, Glenn C. 2003. All Shook Up: How Rock 'n' Roll Changed America. Oxford University Press, New York.
Floyd, Jr. Samuel A. 1995. The Power of Black Music: Interpreting Its History from Africa to the United States. Oxford University Press, New York.
Phinney, Kevin. 2005. Souled American: How Black Music Transformed White Culture. Billboard Books, New York.
Scaruffi, Piero. 2003. A History of Rock Music: 1951-2000. iUniverse, Lincoln, Nebraska.
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